Sheila On 7: The Indonesian Band Who Proves Their Existence for 22 Years

Jakarta: 22 years is not a short time in maintaining the existence of a musical group. The popularity, friction and storms in the industry have been experienced by them, Sheila On 7.

The beginning of 2018 becomes an important list in the history of the Yogyakarta origin group. For the first time they released a single – Favorite Movie – no big-name labels on the back. As you know with the big Sheila On 7 under major label shades, from self-titled debut album (1999) to 8th album, Good Season (2014). Practically more than half the age of this band they spent together with Sony Music Entertainment Indonesia. Through the label Sheila also got the title “Band One Million Copy” which signifies their success in marketing the album.

With everything they’ve experienced about 22 years, Sheila On 7 has started a good season in 2018. Through 507 Records, the label they founded, Sheila is still sailing. What they experienced for years with big labels became urgent travel provisions.

Interestingly, Sheila On 7 became one of the few groups from the late 1990s to survive for so long, with the frequency of the stage schedule being maintained and the consistency of releasing new materials. That whole thing does not just happen without escorting the embers.

Sheila on 7 on Their First Set

Sheila On 7 is one of the bands of the late 1990s that still exist today, according to what you are the biggest obstacle to being a band today?

Duta: Sheila On 7 started recording when Eross was 19 years old, I’m 18 years old. When the first album Sheila (self-titled, 1999) came out, Eross age 20, I was 19. So that’s when the kids in our age who play a lot nicely. We at that time may have a label as millions of copies, but our game musically has not matured at all. Maybe people’s expectations of us are high. The challenge is there. As for other bands, perhaps the challenge is to get a contract from a record label that is not easy.

Now anyone can sell the recordings. Even the recording in the room. I can not say all, but some people do not care about the songs they hear recorded with pre-amps worth tens of millions, or using the microphone A or B study space. So, that’s the real challenge nowadays. Educate those people. Educate if the artist is working on the recordings until such a time. Although this time also not a few artists karbitan, his English poser. They are not artists at all, they are merely bandwagon. So that is what creates our work more heavily in the meaning of educating. If the whole is on the same page as the musician’s glasses, it might be easier. With a diverse audience, the challenge is there. Also the challenge of escorting existence, 22 years is not a matter for a moment.

What’s this 22-year-old essential thing that you guard and protect the integrity of Sheila On 7?

Duta: Passion. That secures Sheila On 7 from her yes passion damage. How do we reverse the spirit of music.

As long as I chatted with them, from the weightless and unqualified chatter, they baseball once said, “boring for playing music band.” I make no lie to you, guys, never say never had such a sentence out of us for about 22 years. The worst of circumstances. But we were tired of problems. This band ever wanted to break up! Not cause tired to play music, because the problem is there. There was a moment of feeling, “I can not solve this problem.”

To this day, our passion is still the same. Deg-degan up stage still exist. To this day I am still on stage. The analogy, why ride a roller-coaster when it already knows the taste and enggak deg-degan? For what so performers when baseball can feel distracted? Because it keeps my focus, my concentration. I am actually afraid when going up the stage is normal, meaning it is no longer special for me. We do not often try to reverse the values ​​we struggle with from the very beginning of playing music together.

(The period of near dispersal) occurred in 2006 to 2008. It was our toughest phases.

In recording the song at this time, of course the atmosphere you are not like when still single who can capture the idea of ​​Lonely Men kind, Gentlemen or Bobrok. What creates you remain sensitive in the creative process of songwriting?

Eross: If the quantity falls far, what we can do today is to maintain the quality. Many theme songs that we have never written. Now still really selective and baseball may be forced. Maybe you can pursue the quantity of songwriting like before, but can not keep the song weird? So I do not block myself with anything.

Like me (listened to) Muse, from there I know the placement of a nice aperggio. Then I simplify become Favorite Movie Intro. And Muse comes after Sheila On 7 is established with the existing musical style. So as I walked, I did not block the ears with what was.

New Album SO7

Sheila On 7 when this really assess its own fate. Do you use this business to work on further exploration of different music genres that you have not previously tested?

Eross: We do not often raise this issue. In Indonesia, when you have no color of music, finish. Coincidence Sheila On 7 from the beginning of career, people are not difficult to pursue the characteristic of Sheila On 7. And that until today we keep. So even the music director we choose, he also keep the seeds (typical music) Sheila, but reproduced fertilizer. It’s not a coincidence that this kind of music is mixed up. Some say when a song is played by different people, but when we play so special.

So, are you gonna start involving the producers of so many backgrounds in the upcoming album?

Duta: We are exploring that possibility, perhaps one day we are working on explorations with Marco Steffiano, Nikita Dompas or Ifa Fachir. Many of us have entered the list. Depending on the need of the song. We want to try such a technique.

Included with may involve a producer from abroad?

Duta: That’s what’s not in our chat. Not so far. One day want if there is a chance and his mood is willing. In collaboration with experienced producers who probably do not know Sheila On 7 but we want to cooperate.

Based on your information, it is still relevant indie and major terms in the music world?

Duta: It depends on the context. If we talk to labels, it’s probably out there that there are labels that have not done what it’s supposed to do, but the reality is that not a few labels do things that should not be done.

He (the label) of his realm evolves toward a different direction toward commodities, working on the essentially unnecessary. But what is essentially not done, about the distribution of for example. With this affair, Sheila does not want to look for labels anymore. We analogize like school people, labels like parents, after shading from elementary, junior high school and after successfully reaching S1, we have the choice to apply our science or continue S2.

We are here to learn to apply a good system for 507 Records, if we have run well, we can hire different people who run the system. Instead we collaborate with people who bring their own systems.

Eross: Technological developments per five years will change. A major label error, they contracted the artist too long with the industry mindset on when the contract was made. We contracted in 1998, in that year CD and cassette main menu. But on the way, there are blunders. Because the existing contract is no longer relevant to the existing era.

Our First Ambassadors assume contracted long, our fate is guaranteed. It’s our learning that takes us at this point. All musicians have the right to vote.

It demands that all musicians at this time are legally literate on contract?

Duta: It must be, now not a few friends of musicians who study law and open consulting about the law. Hopefully the new bands do not need to feel what the old bands are going through.

Master album debut until your eighth album must be held by the old label, is it possible that you released the re-issue issue of Sheila On 7 albums, see next year (2019) your self-titled 20-year-old album?

Duta: The possibility exists, but I’m sure the label will not let go.

Eross: I heard yesterday that the master’s age is 20 years. But the rottenness of the album, let it be like that. We also hear our label that used to stop made album Sheila On 7.

Duta: There is a perception in a law like that (about the age of the recording master). That’s what we’re digging. Most probably we re-record the song, live. We also record a number of times live. We will release if conditions permit, if there are no parties who feel harmed.

We feel beyond the weakness we get, we skip. We are grateful to still be handed the power, high passion, so that can make new works.

Brian and Eross released solo albums in the last two years. Do Duta and Adam also have a solo career plan?

Duta: I like to be afraid when I say. Never had my solo chat with the kids (personality Sheila On 7). If you make a song, there is. For my song saves. Do not have the minds of these songs should I spend in the form of solos.

Adam: There is no such plan.

What’s the big theme of Sheila On 7’s upcoming album?

Duta: If the theme I believe can no longer be like songs in the era of 1999, like album one second album. The theme can come from so many things, from friends’ stories or from our social life. But, not baseball maybe the next five years we recorded a song like 1999. Because my son is very large, the end of August this year age 14 years. Let’s say 3 years my 17-year-old son and I became inspired to record the life of the child’s age, because in 1996 at the time Sheila On 7 age I was 16 or 17 years old. Because of what I am listening to at this time, the story of my children.

Later, rolling out the collective motivation to bring Indonesian music to a wider realm. In terms of promotion of culture and collective identity in particular. It can not be separated from the initiation of all musicians and government (BEKraf). How do you think

Duta: It takes a high commitment and the music world is too plural. As I said, there are really musicians there who are poser. We can not know the commitment of people, the parameter is too much. We see ikhitar from friends like Mas Tompi, Glenn in the Indonesian Music Conference (scheduled to be held in Ambon, in March 2018). If it hits the rules or something, is the commitment still the same? Or look for congratulations on their own? That is what must be seen. Music is too compounded, the spirit of the music is too much, the spirit is different, the effort is different. All this has been done partially. Alone. Sheila baseball, we educated Sheila Gank first. Starting from educating the purchase of original goods. From those little things we educated.

We have empirical there are people who ask for signatures on pirated CDs. We can not prohibit, because it is your money. But we can not blame you if you get unfavorable treatment from Sheila On 7, because what you are doing (by purchasing pirated products Sheila On 7) is painful to us.

If there are musicians you want to collaborate with, who are they?

Brian: What we did on stage and was memorable, Raisa.

Duta: Mr. Iwan Fals, when the same collaboration Slank and Gigi has been realized. Ahmad Albar had time to materialize concert but the time was singing busy, not a duet alone. Ari Lasso had never been. Yura Yunita was okay.

Adam: Raisa, Gigi, Isyana has never been.

Eross: I love Lana Del Rey. Unique, want to know the process (music). If it’s local, Barasuara.

The Up-and-Down History of Indie Label in Indonesia

Some people may still be familiar with indie bands. According to the origin of independent word which means independence, independent, free-spirited, and independent, to the extent that freely adopted, can be interpreted two notions of indie bands that now thrive in the country.

Understanding unity that can be given to the indie band is their works are outside the mainstream or contrary to the style of the song that is selling in the market. They are free to spark a work that is very contrary to that of the market, or in a different word is not commercial and typically has its own market share of the type of song they offer.

The second understanding of indie bands is that the band recorded and sold their own songs. Usually these bands have songs that can be accepted by the market, but in the cultivation of the album, they do not involve major labels or record companies that already have names.

Recent developments, not a few bands that spawned an indie album that turned out to have a large market share. Their marketing generally passes between the antagonists or through the established network of schools.

This is different from the situation abroad. Usually a label can and want to facilitate the band under their auspices to the maximum, to the extent that the band can achieve success because of a reciprocal relationship that is comparable to the label. Call it a successful overseas indie record company like Fatwreck, Epitaph Records, Matador Records, etc.

One of the major dividends acquired by a band that has entered the major label is in terms of broader cassette distribution, and the commercial side of the band is clearly more uplifted. But it does not mean that the entire band approves of the superiority that this major path offers, because for some of the most important musicians for a band is the freedom to work, which perhaps can not be obtained through major record companies.

The precursor to the formation of indie atmosphere in Indonesia is difficult to get out of the pioneer rocker-rocker changes of the 1970s as a precursor.

They are following the first generation of Indonesian rockers. In fact, the songs played by the bands above are not their own songs.

This counter-productive tradition then recorded the history of his name that had been smashed on the national stage.

Besides, it is Log Zhelebour who gave birth to the first rock record label in Indonesia, Logiss Records. The first product of this label is God Bless Black Ants third album which was launched in 1988 and sold to 400,000 tapes in all Indonesia.

In the 2000s to the present, indie music is growing rapidly by the growing number of independent record labels. Especially supported by internet technology civilization that allows them to introduce works for a potential audience with a lower cost through the music blog, social networking like Myspace which is also used independent music companies to create a great civilization in business.

It is also supported by the seriousness of independent record labels in business and promotion which recently was intensively implemented by Aksara Records and De Majors in Jakarta and FFWD Records in Bandung.

Payung Teduh

The indie recording company spends the ground or container for post-punk, indie pop, electronic, metal, alternative rock, etc bands, broad distribution channels, comparable outcomes between labels and bands, DIY idealists (Do It Yourself) marketing, art and artificial guides given their belief in freedom of expression, innovation and diversity with simple destinations, disseminating and introducing the music they love.

Now it is time for indie bands to indicate all the potential and ability. Do not imitate independent senior bands that fail, without work, and without appreciation. Being indie band is easy, but so the indie band that ‘success’ is indeed need a long struggle, sweat, effort, and hard work. Also capital and opportunities as supporters.

so, for you who want a career in the world “INDIE”, wise & not infrequently up-to-date about info about music.

Major Label Companies… Are They Still The Most Effective Way To Sky Rocket Your Album?

The decision among the big bands in Indonesia to be published from the record companies, which has sheltered them around more than eighteen years, must be a big question as well. Is it really that the major record labels have not attracted them, or whether by choosing an independent path, and selling their own albums into more profitable techniques?

Almost every person who wrestle in the world of music either soloists or groups, among the goals for his musical career is to enter the kitchen recording, creating albums, behavior, to the popular. And record labels that can accommodate them all. They accommodate the cost of production, promotion, and some even deliberately accommodate other supporting affairs such as gossip or sensation yag expected to break the sale of his album. Not all of them, but there are some.

Is it still a big record label to be a musician’s destination to plant his work there? A question that is answered by another question about a skeptic is in the country, who knows whether there are still people who think if a work is to be cherished in the copyright or not.

The question is in this plowing era of plowing, in an age that people have rarely cared for, if buying indigenous works is the breath for the country music industry players. Is there still a big record label that can be a handle?

In the mind of every layman whose first glare will be flamboyant to the music industry and major record labels, perhaps going into the element of the artist of a particular record label is a pride of its own. But what it can be directly proportional to the whole thing on offer like a sold album, and popular. Not to mention the division of results far adrift between the artist and the producer / the record producer.

Is it still a big record label to be a musician’s destination to plant his work there?

A question that is answered by another question about a skeptic is in the country, who knows whether there are still people who think if a work is to be cherished in the copyright or not.

A very concrete way to deal with this limping music industry is to return to the band itself. How they make their own market, powerful fanbase, and characteristic music. It seems that with such techniques will create the band or its musicians will survive in the industry, both mainstream and non mainstream. But if it is essential, shallow music will be rewarded with shallowness, too, to be easily understood and easily forgotten.

The logic is simple. With a fanbase of only 1000 people, the band or musician can last a long time in the industry, but with a list of all his fans making physical purchases, coming to the concert, buying his merchandise. Because that created the musician there is the audience / fans. That’s why the maintence fans are necessary and try not to have no distance between the artist and his fans. How the artist’s technique of maintence the fans so as not to feel bored with the work that the artist has to offer. With so many new innovations, fresh music, song lyrics that build, even personal closeness andai fans is friends.

But apart from that, hopefully this industry continues to exist, both mainstream and non mainstream. Every musician needs a place to work. For a very ironic matter is when a potential musician in the end is hesitant to submit his or her work to the label, because the proposition of fear will be the stigma built by the big label, which is where the market is everything. Which at the end of the music itself is caught in enjoyment pay attention to the song itself, without assuming if what he wanted to convey it try to get to the ears not a few people. And that’s why the music industry / record label should exist, to say or as an extension of a musician’s hand to work.

The Dawn of Indie Label Music in Indonesia

Taufiq who used to enforce the Jakartabeat site with Philips Vermonte, creating Elevation in 2013. His motivation is not far contrary to Ucok: releasing albums he likes. Since now, Elevation has re-released the band’s first folk-baroque album from Yogyakarta, Aurette and The Polsa Seeking Carnival; Sajama Cut album; relaunching the Homicide album, until the re-release of Bandempo’s album.

By 2015, Hobgoblin’s Sajama Cut album is number three on the Rolling Stone Top 10 album charts. Of course it’s an interesting affair, because it’s beating major labels like Sony or Musica. There are not a few new label names in that arrangement. Start Music Factory (standing 2006 and becoming KFC album release dealer), News Space Records (standing in 2015), to Moso’iki Records standing in 2015 and releasing the album of Dosa, City, & Memories of the folk duo of Silampukau which was greeted very well by public.

“You know, the music business is in big trouble when a small indie label can be in front of a big corporate label!” Hats off Sajama Cut for a devastating, Hobgoblin, without any pretense, “Elevation Records wrote on their Facebook page.

What is written is not a bit true. We in Indonesia do not often hear discordant and discouraged voice about record labels, how they are trained because of piracy and have not been able to ride the digital wave in the music industry.

White Shoes & Couple Company
White Shoes & Couple Company

Based on information from Wendi Putranto in his book, Rolling Stone Music Biz, Recording Industry Association of Indonesia (ASIRI) is a representation for 80 percent of the music market in Indonesia. When the book was created in 2010, the record label remained for 83 companies. But in 2012, ASIRI recites that the moment left only 76 record labels of 240 registered members. Piracy and invalidity of their physical releases created one by one record label collapsed. What remains is the big names like Musica, Universal Music Indonesia, and SonyBMG Music Entertainment Indonesia.

Even so, Taufiq looked at the record label will still remain relevant. With a note: niche labels. Or arguably, indie labels with fun motivation and working on a small but loyal niche of consumers. He alluded to the name Grimloc as the label “… which each release will be not rare times I buy.” At the very least, the label will create concentration musicians take care about the music. Beyond that, the label will take care of it.

While the big label felt Taufiq has no longer be as big as before. In other words: although they still get a bit of money from the streaming business, they are increasingly irrelevant in aesthetic fashion.

“So they are busy unloading old catalogs and re-releasing this.For the new music, there is yes on the indie label,” said Taufiq.

Indie label like Taufiq is not going to be as big as a giant record label. But small labels like this have loyal fans. When Elevation released the Nine Tomb and Godzkilla Necronometry cassettes of 1,000 pieces of Homicide in 2015, the album went on sale in just 6 hours.

When the big label constrains selling physical albums, small bands like Elevation are overwhelmed because too few buyers. But it is a label like Elevation or Grimloc not hunting quantity releases, and not also a giant. They merely release the album that likes, any aesthetically in accordance with the vision of the label.

“We are relaxed, if there is a good release, if not there is no need to be forced,” said Taufiq.

Trent Raznor is very attached to his interesting behavior, especially his attitude to the record label. The founder of the Nine Inch Nails (NIN) rock band has a fairly long history of controversy with record labels. In 2007, after the release of the fifth album Zero, NIN concluded to part with Interscope Records, a record company owned by Universal Music Group. This label that overshadowed NIN since its debut album, Pretty Hate Machine (1989).

“I have been recording contracts for about 18 years and have watched how the music business has changed radically, a change that makes me glad that I can have a direct relationship with my fans because I think it is more appropriate and profitable,” Trent wrote on the official website. NIN.

One of the cornerstones of the problem, among others, is that Trent is annoyed to see how record labels put prices for music albums. In Australia, the Year Zero album is marketed at a price of almost 30 dollars (Rp377 thousand), a price that Trent says is “absurd.” In a concert in the land of Kangaroos, Trent encouraged his fans to celebrate the culture of so many files. “Just steal our album, then share it with your friends,” he said.

Trent does not mess about the concept of sharing this file. In the next album, Ghost I-IV (2008), NIN spends a wide selection of techniques to get this album. Start downloading for free with Creative Commons licenses, up to include some pricing options. Includes Ultra Deluxe Limited Edition package priced at 300 dollars.

Album Ghost I-IV was launched via The Null Corporation, a record label founded by Trent in 2008. This label released the work of NIN and How to Destroy Angels, an experimental band that was fronted by Trent and his wife Mariqueen Maandig. On the seventh album, The Slip (2008), NIN was still menggratiskan album. Trent instead mentions a short message, “This is my treat.” Two months later, there were physical releases printed in limited numbers.

Although in 2013 NIN released Hesitation Mark albums through the Columbia label, it’s still Trent’s unique attitude to follow, or imitated by other bands. Attitudes that perceive the circulation of the work can be self-made, self-regulated, there is also a fund-raising technique that is more profitable for bands and fans. One way is to create your own record label.

“I miss record labels that can tell the world about your work,” he said when asked among the motivations of creating his own record label.

Relevance of Record Label in the Digital Age
What Trent does is not a new affair in the music world. Underground musicians are familiar with the Do It Yourself ethos (DIY), to reflect all the activities that are carried out on their own. Starting from recording songs, creating packaging, to circulate it. Trent thumbs up because it is considered successful injecting the idea into the music industry smeared capitalistic image.

What motivates Trent to create record labels is also followed by not a few people who want to create their own record labels. Most of them do not dig huge profits ala a giant label. They just want to have fun, create songs without the label set, and release their own albums that will not be glimpsed big labels.

In an interview with Cobra Magazine, Morgue Vanguard recounts the proposition why he enforced the Grimloc Records label. The man has the real name Herry “Ucok” This Sutresna uphold Grimloc with his friend, The style of hip hop group Eyefeelsix, in 2011.

“The main reason to enforce the label? Yes, especially because of the need to release our own album, which of course .. In the day can ngerilis albums of friends you like, the bonus,” said Ucok who ispersonel Homicide and Bars of Death.

The Grimloc release catalog is impressive. Starting the re-release of the classic album Homicide, a punk album of Cockroach Militia, a hardcore band WETHEPEOPLE !, to release a punk / hardcore band from Bandung, Hark! It’s A Crawling Tartar. Of course not much difficult to want such bands will be launched by major labels.

Technological advances in recording and social media have created the creation of music albums much easier. At least musicians now have fewer options to circulate his work. No need to release albums past major labels.

Recording albums is even easier thanks to a variety of soft devices that can be used anywhere. Even in the rest room though, it produces the term bedroom music, aka music created in the room. A kind of proof of Noel Gallagher’s prophecy in the song “Do not Look Back In Anger”, that revolution can be done from the room. Some names of world-known room musicians are Washed Out, Perfume Genius, and Toro Y Moi. In Indonesia, among the room’s musicians is Adithia Sofyan whose name is known thanks to the song “Adelaide Sky”.

In a video that he uploaded on May 21, 2009, Adithia recording tool looks simple. Acoustic guitars, microphones, pop filters (a tool for filtering noise in recording, commonly placed by one singer and microphone), headset, and video camera. From his room, Adhitia’s name rose. The songs recorded in the room were then launched in the EP format entitled Live from His Bedroom containing 5 songs. So far Adhitia has released 3 full albums, and had a tour in Japan.

The presence of social media also does little to help today’s musicians. Starting from Facebook, Instagram, to Soundcloud, creating musicians more easily spread the work, concerned with fans, or submit announcements in connection with the band.

Well-established musicians and artists compete to create their own record labels. They have understood the business field of music, therefore not afraid to start his own label. In addition to Morgue Vanguard and Grimloc Records, there is also the name Shaggy Dog who created Doggyhouse Records, DJ Riri who created Spinach Records, until GRIBS created Kelud Records because there is no Indonesian label that wants to release a glam rock band album like them.

At this point, it is commonplace if not a few people ask: is the label still relevant in an age that is all self-made?

“Label is increasingly marginalized, people probably do not know what label overshadow Rihanna or Justin Bieber because the artist is bigger than the label,” said Taufiq Rahman, founder of Elevation Record. “In addition, artists or bands are now able to cut the role that used to be labeled.”

There is so much to learn from music

In this article, here are some thoughts on what we bring learning music. It is obvious that music allows us to develop, improve, gain confidence, develop our senses etc …

There is no age to learn music , the only mistake would be not to start. There is so much to learn from music.

The awakening of the senses

Music is an art that develops mainly 3 senses:


You do not have to draw a picture, but touch is a very important part of music. The musician expresses feelings through music (joy, pain, pain …) and his instrument that interprets it. All this to say that touch can nuance, color, intensify these nuances. Moreover, if we look at some classical scores (for example those of F. Chopin), we realize how much the composers are very attentive to this and the touch allows to express these sensitivities.


Listening to sounds is part of musical learning, especially through musical dictation exercises. Every musician must be able to hear and reproduce a sound or a melody. Some even have the absolute ear. But without going so far, it is obvious that the ear of a musician will be more “sensitive” to notes and more generally to sounds.


The musician obviously needs his eyes to read or write a score. But beyond this evidence and as mentioned above, the musician develops qualities and reading skills that others will not have (regularity and anticipation).

Music is therefore an art that significantly develops these three senses.


Music allows a better knowledge of oneself and one’s sensibilities. I do not speak only of Chopin’s nocturnes which can reveal the romanticism of each one.Learning to play music can evacuate or express any form of feelings (anger, joy, pain, deliverance …), it is above all the expression of oneself, of a state of soul or spirit. Through music, the musician learns to know himself, to free himself and to express himself.

The social function

Of course, music plays a predominant role at the social level. It is by definition a moment of sharing and complicity that can be found in other areas such as sports.Making music allows you to exchange, enjoy, listen and simply to live unforgettable moments with friends or family.

The performance

This is one of the great advantages of the conservatory, this teaching makes it possible very early to measure itself to an audience. Very quickly, we teach young pianists, guitarists, violinists and others to play in public. Beyond technical performance, you have to manage your anxiety, your stress, overcome your fear of doing well.
It is undoubtedly a learning for everyday life, we will all be brought one day to speak in public, it learns, you have to know how to manage your emotions and music, like theater for example, allows to to develop this capacity that we all have in ourselves to go beyond our fears and shyness. You have to build self-confidence.
I’m not always in tune with this teaching, simply because conservatoires have sometimes forgotten the notion of pleasure for the benefit of performance. However, the search for excellence, that is to say, not to be satisfied with an “almost” is always commendable and a teaching valid for all the life, whatever the field.


Learn music when you are an adult

Many people wanted to learn music, but they could not realize their dream during childhood and adolescence. At some point in their life, some of them wish to realize this dream. But the fear of failure and some other more or less justified excuses (like lack of time) prevents them from embarking on the adventure. Is it really possible to master this artistic discipline by starting learning as an adult? The answer is YES . Here are some reasons that might convince you.

But first and foremost, all artistic activity must be a pleasure, and that’s especially true when one is in adulthood.Why make music except to discover, practice and love this art? Certainly, when one is a child, motivations and intentions can come from adults (often this is the case for that matter). But as an adult, this learning can only be a personal desire and envy.

Adults have the will to learn

When an adult decides to learn music, he is aware of his choice. It means that he really has the will to start the adventure. This is important when learning this fairly complex art, which requires perseverance and a lot of passion. That’s why so many children end up giving up. They did not really choose to take singing or instrumental lessons. This is a choice imposed by their parents.

Adults are more motivated

An adult also knows his taste for music. Thus, he can choose easily and freely the discipline that fascinates him as well as his music school. This can only optimize his motivation. However, it is a necessary quality, even essential, to succeed. In addition, an adult can express his real expectations. Thus, instead of being a student subject to his master, he puts himself in the place of an apprentice who wants to exchange and share knowledge with the music teacher. Learning will be done with less constraint.

The ability to learn has no age

Does an adult still have the intellectual capacity to assimilate new knowledge? This is the question that people ask frequently and that they mistakenly think of having the answer. American studies in neuroscience have shown that musical learning can begin at any age . It turns out that the human brain is able to receive and tame new information even after 60 years. Thus, a motivated adult who shows great patience and perseverance will have no difficulty learning music. It should not be denied, however, that a child literally absorbs what one teaches him, an adult can be slowed by his personal experience (failures or successes), his doubts …

The possibility of having access to age-appropriate education

An adult and a child do not have the same vision of things. For the little ones, taking music lessons is a banal activity. They start there without asking any questions and without thinking about the obstacles they might encounter. On the other hand, adults know in advance that work is going to be particularly difficult.They are aware of the efforts to be made and the time to devote to the study. That is why they need a rather special teaching technique.
Currently, it is quite possible to find training that meets their needs. We can even learn the music without mastering the music theory. Many teachers offer this kind of method. This can only interest people who do not have much patience in learning music theory.

However, learning music theory can also be an asset because the adult may have more facilities than a child to understand the rules and it will allow him to move forward because an adult needs concrete, solidity, a pedestal and music theory is one of them. There are more questions as an adult. Everything will depend on the motivation, its desire, its objectives a little like an adult decides to play sports: how often, with what desire, its motivations and objectives.

A wide choice of adult education

It was a time when to learn an artistic discipline, it was necessary to enter the conservatory of music . Currently, it is no longer mandatory. Many offers that are more suitable for adults exist. It is now possible to take classes on the Internet. This has several advantages. First of all, you can manage your time freely. This is important for an adult who has many responsibilities. We must also mention the privilege of learning according to its rhythm and desires. Learn music online is also possible, however, be careful to find the right site, good advice and to advise you by a music teacher who will correct you if necessary. It’s a bit like sport: you can learn on your own but at the risk of mis-learning or doing bad things that could be more damaging than profitable, it is advisable to be supervised by a competent person who can advise you or you correct if necessary.

To conclude, it is clear that you can learn and make music when you are an adult. Before starting, do not believe that it will be done in a weekend with the miracle method (which does not exist, do not look for it!). First and foremost, the right questions must be asked, such as the time to be given to musical learning in one’s schedule. Remember that the contribution of musical learning is not limited to music alone .

Like any new artistic adventure, sports …, it is important, even vital, to set goals for achievement. You should not be too ambitious at the risk of discouraging you, but you should be motivated enough to motivate yourself and progress. For example, if you decide to learn the piano at age 50, it is obvious that 6 months will not be enough to play a Chopin nocturne, a Mozart sonata or a Bach fugue. However, you can really enjoy yourself with some piano notes played well. If we continue the analogy with the sport, you can manage to run a 10 km in 1h30. Certainly, the speed is not the best, but you will have the immense satisfaction of having done it. As an adult, one certainly seeks performance but perhaps in relation to oneself and one’s own pleasure.

Nothing prevents you from setting higher goals as you progress, which is nevertheless related to the time and seriousness you devote to this activity. But above all, keep the pleasure of playing as your primary goal!